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This is not your father’s uplifting wishy-washy Biblical yarn. This is a violent, dusky, and sometimes depressing narrative that is quite a change from many religious films.
Based on a recent, this film imagines what happened to Barabbas after he was chosen over Jesus to be released before crucifixion. Anthony Quinn is a perfect choice as the unrepentant thief who goes befriend to the world he knows- crime and carousing. His celebrated prostitute Rachel, however, has become a Christian and is later stoned for it. Barabbas is not objective an observer, he sees Jesus go to the crucifixion, and later finds Rachel at the launch grave. Barabbas goes assist to his musty gang of thieves, murders the modern leaders, and they prefer some Jewish clerics. Caught, he is sent to the sulfur mines for life, where he meets Christian Sahak, played by Vittorio Gassman. Sahak knows Barabbas’ name and reputation, and attacks him. They eventually become friends, since they are shackled together in the pit. Barabbas survives in the mine for twenty years, refusing to die. He is tormented by the memory of his reach death years before, and he sees the sacrifice Jesus made not unprejudiced for him, but for all of us.
Barabbas and Sahak survive a cave-in at the mine, and are taken to Rome as satisfactory luck charms by a newly appointed senator’s wife. They are recruited to fight in the coliseum, ruled by a maniacal gladiator played by a very young Jack Palance. The duo also acquire contact with a Christian servant, Ernest Borgnine in a diminutive but reliable role. Eventually, Sahak dies for his beliefs at the hands of Palance, and Barabbas has his bloody revenge on the field. Granted his freedom, Barabbas takes Sahak’s body to a group of Christians, who reject Barabbas’ half hearted attempts at Christianity. Barabbas misunderstands God’s word and helps in the torching of Rome, eventually ending up a martyr himself.
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Just under two and a half hours, there are a few uninteresting spots. The cast is grand, however, and Fleischer does an impressive job with a cast of thousands. No CGI to rely on here, Fleischer uses his assorted region pieces to their fullest extent without trying to fix or better anything in editing. What is left are a series of scenes that can stand on their maintain as highlights in early 1960’s film making, when the cinema was hotly competing with television to secure viewers assist. The stoning of Rachel, the sulfur mine collapse, the burning of Rome: all are unforgettable scenes.
Two stretches of the film are very memorable. First, an extended sequence between Palance and Quinn fighting in the coliseum. There is no dialogue, honest brutal violence and action. Another scene is the final tracking shot of dozens of crucified Christians, including the now ironic Barabbas. This shot sent chills down my spine.
This film is very dusky and very different. Barabbas is a man torn between his heathen upbringing, and what he knows is correct through what he has witnessed in Jerusalem and Rome, no matter how worthy he denies what he has seen.
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Produced by Dino DeLaurentiis in Italy, this film has a European feel that makes it different and lends a positive credibility to the proceedings. The Oscar heavy cast does not drop victim to any preachy speeches or effects laden miracles, these are seemingly ordinary people caught up in tumultuous times. I highly recommend “Barabbas” to any film fan, especially those who judge “Gladiator” is the only decent sword and sandals tale out there.
Although not rated, this does acquire strong physical violence, some sexual violence, gore, and some adult situations.
I’ve often wished for a widescreen edition of Barabbas and now here it is. I became enraged several months ago when I saw this edition was to be relased on DVD. So here I am on March 5th ordering my copy. I contain the VHS version which distracts from the satisfactory photogarphy. There are some famous things to know about the production of this film: the crucifixion sequece was filmed during an sincere eclipse, a one shot scene. The sets were constructed three dimnesional so the streets of Jerusalem and Rome appear accurate. Anthony Quinn was a perfect choice for Barabbas. If you’ve read the book this film will provide a quality visual to the aesthetic, simple telling of a man’s life, the man who was spared crucifixion and free’d instead of our Lord. Also if you’ve read the book you’ll know what Barabbas is thinking most of the time. Quinn is trustworthy, his eyes ever roaming in plan of survival. This is a expansive movie shot in a down to earth realistic scheme. A handsome glance in seeking truth, arriving on it’s doorstep only to turn away. Because of the book, when Baabbas is helping dwelling fire to Rome, I am aware of how truly emotional this last scene in the film is. (I hope am not giving anything device in the film) . Barabbas finally makes an inaugurate commitment, acting out on a idea system that he’s denied since Christ’s crucifixion, only to view in the demolish it was Nero who plot fire to Rome and not the Christians. It’s really all there. The muscal collect is unsual and original. I have the stale mono 33 1/2 rpm version which gives musical examples at the raze of how Mario Nascimbene wrote and orchastrated the incedibe net. Sadly enough this former recording is far supeior to the original CD declare which edited cuts and left out the 5 little + prologue. I rate this movie 5 stars. If you like the ancient spectaculars this one is modern and should be in your library.
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